[Gary Hughes]

I had already made that change. It didn’t do anything.

Thanks,
Gary

[Gary Hughes]

bdr, thanks! Being completely new to DVD Studio Pro, I haven’t spent much time with it yet. There’s a lot I have to learn. With what I was using, I was very limited and that was not an option.

cweath, there you go. Just author it as a DVD in DVD Studio Pro and play the DVD on the computer. I’m sure you could even play it from the hard drive. I haven’t tried that either since I got my mac.

Thanks,
Gary

[Gary Hughes]

I decided to take your advice. Being fairly new to mac, I must be doing something wrong. I tried to do it, but I get the error message every time: Unable to create disk0.dmg. Resources busy.

I also tried clicking on the Macintosh HD icon just below the drive icon. The only thing that changed was the name of the file: Unable to create disk0s3.dmg. Resources busy.

The disk is Journaled. Would that make a difference? What am I doing wrong?

Thanks,
Gary

[Gary Hughes]

I have the Decklink extreme. It does accept composite. It is just on one of the componant cables. I assume that any decklink with componant in would be the same. I did it the other day from VHS to FCP to Compressor to FTP to another artist so we would be on the same page. Tried it from DVD while I was at it, just for grins. Works great.

Thanks,
Gary

[Gary Hughes]

I do this with DVDs and have the user press the repeat button on the remote. There may be a way to script it in DVD Studio Pro so that the repeat is automatic. I would post in that forum and see what turns up. Then you could just play the DVD in the computer.

Thanks,
Gary

[Gary Hughes]

Back when I edited numerous exercise videos that were shot at a particular number of beats per minute (BPM) using pre-recorded songs, then in post, had to change the songs to different ones that were new recordings, I found that often, the bpm would creep out of sync with the original songs. I found that by fixing the timing first, then editing, it saved a lot of time.

Before this knowledge, I would edit the video and constantly have to slip the audio or video and I never knew how much to slip it.

After this knowledge, I found that during one song, it would be off by the same amount over a certain period of time. In other words, if I had to cut 3 frames of video out at 10 seconds into the clip in order to get it back into sync, I knew that every 10 seconds of song, I would make a cut in the video and trim it by 3 frames. This meant that I didn’t even have to watch or listen to the remaining edits that closely. I would just do the editing, and 9 out of 10 times, I wouldn’t have to slip by a single frame afterwards. I would then cover the cut with another camera. I didn’t have to keep the cut at the same place, but I did have to use that 10 second mark, or whatever it happened to be for that song, then I could move the edit point around by a second or 2 on either side of the original 10 second edit and it was OK.

Feels like I’m rambling a little, but the point is, doing this, you don’t end up fumbling around during an entire long clip to continually figure out how far it’s out of sync. Just take some time to find out how much it’s off at a given duration, then make the edit, move your play head that far again, make another edit just like before, move the play head again by the same amount and make another identical edit, and so on to the end of the clip. Then go back and slip either the audio or video edits around if desired to get them to a more pleasing frame, then cut, copy, paste, or another method would be to nest that sequence into another and edit that nest as if it were the clip.

Hope this helps,
Gary

[Gary Hughes]

Thanks! I can’t wait to start playing with it. Being that I just got my first FCP system just after NAB, and I have to replace all my software with Mac versions, I thought it was the perfect time to add AE to my toolbox. (I won’t stop using Combustion on the PC.)

I’m glad to hear it is using field blending. That’s what Pinnacle Liquid Edition does and it looks great. I’ve had frame blending for about 3 years, or more, with Discreet Edit (which was always behind the time), so I was a little shocked that there weren’t more options for slomo in FCP. Pinnacle has 6 options for motion blending. (Don’t get me wrong, I don’t think it can touch this overall, but there are a few features that are nicer, and I believe in giving credit where credit is due.)

Thanks,
Gary

[Gary Hughes]

Thanks. I just bought after effects. It’ll be here next week. (Although I have to learn it. I’m a Combustion user.) Is the time remapping part of AE or is it an add on? Do you know what it is doing? (field blending, interpolation…?)

I looked at the ReelSmart Motion blur on their site and watched the samples. I’m curious if you would help me with one more thing. If it isn’t too much trouble, could you post a sample of a slomo using FCP and ReelSmart? I would be very interested in seeing a sample that is specific to FCP. (real short, just 2 or 3 seconds would be fine, and let me know the original and new frames per second or percent of original speed.)

I am typically trying to slomo female model shots for hair or cosmetic products, (bust shots or head shots), so the hair is always a problem. I would love to use varicam, but it is never in the budget.

Thanks,
Gary

[Gary Hughes]

I would use motion (or particle illusion or after effects) to create a particle system with the look that you want for the sparkly stuff, then render that out using the animation codec with alpha, then put it on a track in fcp over the video. You could use a dissolve on the video, or a gradient wipe from top to bottom. Make it soft for a more dreamy effect and make the particles move at about the same speed as the wipe.

If you have motion, you could edit the video first, then round-trip them into motion to create the particle system for a perfect match.

Good luck,
Gary

[Gary Hughes]

I seem to remember this problem myself. This might be a dumb question, but have you forced the clips to render? That did the trick for me.

Also, this probably won’t help you, but several are suggesting a blur to help flicker, so I wanted to let you know a trick I learned. If you blur only in the vertical (Y) axis, it should completely deflicker fine lines while maintaining sharpness. You just don’t notice the blur as much when it is only in one direction and for interlace video, only one direction is needed to kill moire.

Thanks,
Gary